关联理论视角下的话剧翻译——以《茶馆》两个英译本为例-drama translation from the perspective of relevance theory a case study of two english versions of teahouse.docx

AbstractRelevance theory proposed by Sperber and Wilson is a communicative theory, and according to relevance theory, speech communication is an ostensive-inferential process. Gutt is the first to apply relevance theory to translation studies. He holds that translation is in nature a kind of speech communication, which provides a fresh perspective in translation studies. Scholars from abroad and home all undertake research of the relevance-theoretic translation approach to testify the strong explanatory power of relevance theory on translation.Drama translation is an important part of literary translation, but it attracts less attention than the studies of novel and poetry translation. As an important means of inter-cultural exchange, drama translation becomes more and more necessary. However, due to the complexities of the drama script and the fact that the ultimate aim of the translation is to perform, for a long time, the study on translation of drama lacks of systematic theoretical direction. Focus of the drama translation studies only concentrates on the characteristics of drama language or applying certain linguistic theory to analyze the drama language.Almost all the studies on drama translations take appreciating the aesthetic value of the translation as an aim, while there are no mistake-spotting and diagnostic drama translation criticisms. Drama translation studies, especially for stage-oriented drama translations, proposing practical drama translation strategies from the perspective of relevance theory, are few and far between. To solve this problem, this thesis probes into the application of relevance theory into the drama translation, taking the two English versions of Teahouse as an object of research, abandoning the past only singing praises for the drama translation, making a mistake-spotting critic analysis of the two versions by pointing out the mistranslation, and at last, proposing the strategy to restore the relevance for stage-oriented drama tr